This critical review aims to expose the confusion that exists in professional arts criticism in general, and dance criticism in particular--with implications for dance education. The underlying principles of formalism are outlined and its strengths and weaknesses highlighted. A demand for more interpretive, theoretical and contextual criticism is made--undermining the centrality of formal values. Intrusive critical interpretations meet with scepticism--they 'do more on the page than they ever did on the stage'. Wittgenstein's analysis of 'seeing aspects' is proposed as fundamental to aesthetic appreciation; its pre-conditions are made explicit. Multiple examples of 'seeing-aspects' in dance are given. The views of contemporary aestheticians are sought--revealing both consensus and divergence on the functions of criticism. Brief critical questions and answers are attempted with a proposed rapprochement in critical disagreements--leading to a proposal for more tolerance among the many modes of critical practice. A caveat is made for well-grounded imaginative interpretations for criticism in dance education together with evidence of discriminating and well-expressed formal qualities.